Other visual art practices by Fong Hin Nam


Phantom plate with floral pattern

16.7 cm x 15.7 cm x 6.4 cm
SLS print with nylon
Phantom Plate with Floral Pattern criticizes the practice of conservation to damaged artifacts and the relationship between different elements of the 3D printed object in terms of attachment. First, I question the authenticity of the repairs on the broken plate. The stylistic Changzhihua (tangled branches and flowers) pattern is a simulacrum of the plant in China, whereas the drawing on the restoration is a replica of a simulacrum. To reinforce the nature of simulacra, I rebuild the peony flower (possibly the reference of the stylistic pattern) with the pedals of the drawing. Afterward, I print the rebuilt model out and scan that again to examine the information loss and simulate the model digitally. My final print contains different stages of the pattern, such as the silhouette of the pattern, a relief version of the pattern, a 2.5D version of the pattern, the rebuilt model, and the scan of the rebuilt model. These forms of reification are counterparts of each other to demonstrate the unique but empty qualities of the models. Hence, the vines penetrate the final print and distort the functionality of the original plate as a utensil to a mere sculpture. The attachment of the flower morphs structurally from a commensal symbiosis to a parasitic attachment and finally infused into the dish. The whole piece is lying on the border of origin and replica.

Caprice (an imagery bay)

Size variable
Resin print, Lumen Print
It is an extension of my continuous series Caprice with the employment of 3D printing and sculptural stencil for printing. I started this project with a historical photo shot in Sai Ying Pun in the 1990s. The photos printed on newspapers at that period are in high contrast in a way that much information loss occurred owing to the technical limitation on printing. The exposure of the contrast is a choice to present a photograph as how the news editors chose the information to report to cater to their target audiences – westerners in Hong Kong. The prints are explorations to alternative ways to perceive historical materials and criticism of the canonised images as historical records. It is a starting point to investigate postcolonialism with visual arts practice.

Digital scenaries

800px x 800px (set of 3)
Procedural image
Generative images of landscapes.

To the Sea

594mm x 420mm (set of 3)
Mono-screen printing on paper
This is the scenary I saw towards the sea.